It was a mind-blowing (Sa)number

Yeh Hai Mumbai Meri Jaan, which released in 1999, was originally called Mr Aashiq*. It was a remake of The Secret of My Success, a Michael J Fox-starrer which released in 1987.

While the former’s failure was no secret, its most popular song was Mera Chand Mujhe Aaya Hai Nazar.

The track, which was five minutes and 50 seconds long, was rendered by the one and only Kumar Sanu.

Penned by Indeevar (who passed away two years before the film’s release), it was composed by Jatin-Lalit.

(*Note: The film’s music was launched under this name.)

Ms Krishnamurthy played SecoNd fiddle

There’s no two ways about the fact that Meri Duniya Hai was the best song on the soundtrack of Vaastav: The Reality.

There were a couple of versions of the track in the film. This blog contains a post on the duet, which was rendered by Kavita Krishnamurthy and Sonu Nigam. It was four minutes and 40 seconds long.

The other version, which was just a couple of seconds shorter, was a male solo. It was rendered by Nigam.

The tracks, which were penned by the one and only Sameer Anjaan, were composed by Jatin-Lalit.

It was an AVerage track

Folks, The Reality was that Har Taraf Hai Yeh Shor was no Govinda Aala Re, and although Jatin-Lalit, who composed it, were siblings, they were certainly no Kalyanji-Anandji.

Of the three songs from Vaastav on this blog, this Janmashtami number was the longest – it was five minutes and 41 seconds long. In fact, it was the longest song in the film.

The song was rendered by Vinod Rathod (who, continuing in the same vein as the beginning of this post, was no Mohammed Rafi). Atul Kale joined him behind the microphone.

Sameer Anjaan penned it.

ThiS(a)number was definitely a (Ka)letdown

In a discussion on tapori numbers from Hindi films, by no means would it be incorrect to state that Apni Toh Nikal Padi, from Vaastav: The Reality (which released in 1999), would not make the top ten.

And that is primarily because rendering songs of this genre was not Kumar Sanu’s cup of tea.

He was joined behind the microphone by Atul Kale.

Of the three songs from the film on this blog, it was the shortest – it was four minutes and 22 seconds long.

Sameer Anjaan penned the song, which was composed by Jatin-Lalit.

This track wAS quite disappointing

When one hears a line that goes, “Pehli pehli baar mohabbat ki hai” (which can be translated to, “I have fallen in love for the first time”), only one singer springs to mind. And that is none other than Kumar Sanu.

He was joined behind the microphone by none other than Alka Yagnik.

The song, from Sirf Tum, was seven minutes and 39 seconds long.

Its next line – “Kuch na samajh mein aaye main kya karoon” – meant, “I don’t know what to do”. Most lovers don’t.

Sameer penned the track, which was composed by Nadeem-Shravan.

Ms Yagnik rendered (Dilb)arocking track

Of the two songs from Sirf Tum, which released in 1999, on this blog, one continues to be popular.

The track in question is Dilbar Dilbar, which was picturised on Sushmita Sen.

It was the shorter of the two – it was five minutes and 46 seconds long. In fact, it was the shortest song in the film.

It was the only standalone female solo on the film’s soundtrack. It was rendered by the one and only Alka Yagnik.

Penned by Sameer Anjaan, it wouldn’t be incorrect to state that it was among Nadeem-Shravan's catchiest compositions.

Mr Rathod’s rendition was (Nig)amazing

The name of a certain Mr Ansari Israrely taken in the same breath as those of the other lyricists who collaborated on the soundtrack of Sarfarosh.

But it would not be incorrect to state that he penned one of the most awesome numbers in the film – Zindagi Maut Na Ban Jaaye.

The longest of the four songs from the film on this blog, it was half-a-dozen minutes and 18 seconds long. It was, in fact, the longest song in the film.

Composed by Jatin-Lalit, the track was rendered by Roop Kumar Rathod and Sonu Nigam.

This (Sa)number certAinlY did rock

One of the reasons I called the soundtrack of Sarfarosh one of my favourite Hindi film albums of the 1990s was Jo Haal Dil Ka.

A rocking number in every sense of the word, it was the longer of the two tracks penned by Sameer Anjaan on this blog – it was five minutes and 26 minutes long.

It was rendered by Alka Yagnik, who was joined behind the microphone by the one and only Kumar Sanu. It was, in fact, the only contribution of the latter to the soundtrack.

The song was composed by Jatin-Lalit.

AKtually, Alka hogged the limelight

Of the four songs from Sarfarosh on this blog, Is Deewane Ladke Ko was the shortest – it was four minutes and 40 seconds long.

It was one of the two tracks from the film on this blog that Sameer penned*.

Alka Yagnik rendered the track, which contained spoken portions by the film’s leads, Aamir Khan and Sonali Bendre.

Jatin-Lalit composed it.

(*Note: He penned three songs in the film. The one that wasn’t included on this blog was Yeh Jawaani Hadh Kar De, which Kavita Krishnamurthy sang. It was four minutes and 44 seconds long.)

Jagjit’s Sing(h)ing was the highlight

The soundtrack of Sarfarosh (1999) was one of my favourite Hindi film albums in my teenage years.

Deservedly, Jatin-Lalit were nominated in the Best Music Director category at the 45^th Filmfare Awards in 2000.

It wouldn’t be incorrect to state that Hoshwalon Ko Khabar Kya – which was five minutes and a couple of seconds long – was the best song in the film.

The ghazal was dedicated to Nida Fazli, who penned it, and Jagjit Singh, who rendered it. Incidentally, the former was born on October 12, 1938, and the latter died on October 10, 2011.

This gem by Nigam waS(on)underrated

The second track from Sangharsh on this blog was the solo by Sonu Nigam – Mujhe Raat Din, which was five minutes and 11 seconds long.

The song, which was penned by Sameer Anjaan, was composed by Jatin-Lalit. By no means would it be incorrect to state that it was one of their most underrated compositions.

That it sounded like Mujhe Dekhkar Aap Ka Muskurana, from the 1962 film Ek Musafir Ek Hasina was purely coincidental, but there’s no two ways about the fact that Nigam idolised Mohammed Rafi, who sang the O P Nayyar composition. 

(Pand)It didn’t fail to (Nig)amaze

By no means would (Pand)it be incorrect to state that the soundtrack of Sangharsh, which released in 1999, was one of the most underrated Jatin-Lalit scores.

Dil Ka Qaraar was the longer of the two tracks from the film on this blog – it was five minutes and 27 seconds long. In fact, it was the longest song in the film, which was a remake of the Hollywood film Silence of the Lambs, which released in 1991.

Sameer penned the Son(u)g, which was rendered by Mr Nigam, who was joined behind the microphone by Shraddha Pandit.

(Am)It certAinlY deserved being Pa(a)used

It cannot be stated that Aala Re Paaus Aala – from Safari (1999) – will give us any respite from the October heat that Mumbai is reeling under at the moment, and will lead to what can be termed as winter.

But by no means would it be incorrect to state that the song was not catchy.

Although the aforementioned line is Marathi for, “The rain is here”, it was very much a song from a Hindi film (composed by Shyam-Mohan).

The track, which was penned by Rani Malik, was rendered by Alka Yagnik and Amit Kumar.

This rocKKing track celebrated friendship

The songs of Rockford, which released in 1999, took the listeners for a stroll down melody and memory lane.

Yaaron – one of the tracks on KK’s debut album Pal, which released the same year – was included on the film’s soundtrack.

It was not only produced and composed, but also arranged by Lesle Lewis.

Although the album’s title can be translated to moments, it is also a synonym of friend in English. Hence, it was apt.

The song, which was penned by Mehboob Alam Kotwal (known mononymously as Mehboob), was four minutes and 32 seconds long.

Sunidhi sang this rocking (So)number

Ruki nahin thi Sunidhi Chauhan ki zindagi, but after she sang Ruki Ruki Si Zindagi from Mast, there’s no two ways about the fact that her professional life became more rocking than it was. Or to borrow a line from the song, unki professional life jhat se chal padi.

In 2001, the song fetched her the Filmfare R D Burman Award for New Music Talent. She was the first woman to win the award.

She was joined behind the microphone by none other than Sonu Nigam.

Nitin Raikwar penned the track, which Sandeep Chowta composed.

Ms Chauhan’s rendition was Mast

Mast, which released in 1999, marked the breakthrough of a singer who would go on to rule the roost because she wasn’t just a fine vocalist, but also a mast looker – the one and only Sunidhi Chauhan.

She rendered the title track of the film – Main Mast, a female solo.

It was penned by Nitin Raikwar, who, incidentally, essayed the part of one of the male lead’s (Aftab Shivdasani) co-workers at a café as well.

The film’s songs were composed by Sandeep Chowta, who rendered the male version of the title track (a solo too).

The listeners certAinlY loved (Ud)it

Invariably, a song whose name isn’t a word is quite enjoyable, and Tinak Tin Tana, from Mann, was no different.

Particularly, because the last lines of its opening verse went, “Nachoon main, gaaye dil, jhoome zamaana” (which can be translated to, “I’ll dance, my heart will sing and the world will sway”) – truly a positive outlook.

It was inspired by Yang Sedang Sedang Saja, a Malay number by Iwan.

No prizes for guessing that (Ud)it was rendered by Alka Yagnik and Mr Narayan.

The track, which was penned by Sameer Anjaan, was composed by Sanjeev-Darshan.

Alka nailed (Ud)it as usual

Just when the listeners had grown accustomed to listening to the inspired songs on the soundtrack of Mann, composers Sanjeev-Darshan sprang a pleasant surprise on them with an original number – the title track of the film.

Titled Mera Mann, it was penned by Sameer Anjaan.

No prizes for guessing that the track was rendered by Alka Yagnik and Udit Narayan.

It was indeed the sort of track everyone who has fallen in love wold be able to relate to, because at a point in everyone’s life, he/she has asked, “Why does my mind like you”?

(Ud)It was an outstanding solo

By no means would it be incorrect to state that Nasha Yeh Pyaar Ka Nasha Hai was the best song on the soundtrack of Mann.

And the credit for that goes to just one man – Udit Narayan, who rendered it. The song was the only solo in the film.

It was penned by Sameer Anjaan, and inspired by L’Italiano, an Italian pop song rendered by Toto Cutugno. It was from his 1983 album of the same name.

Sanjeev-Darshan composed the track, which stated that there is no bigger high than the one lovers are on.

(Ud)It was a Ka(vi)t(a)chy number

There’s no two ways about the fact that Kaali Nagin Ke Jaisi was the most popular song on the soundtrack of Mann.

It was inspired by Ya Rayah, which was sung by the France-based Algerian singer Rachis Taha and released in 1997.

The Hindi song, which compares the tresses of the girl to a black cobra, reunited the Aati Kya Khandala pair, Aamir Khan and Rani Mukerji.

(Ud)It was rendered by Kavita Krishnamurthy and Mr Narayan.

The track, which was penned by none other than Sameer Anjaan, continues to be one of Sanjeev-Darshan's catchiest compositions.